THE CHIEF CAUSES OF THE SUCCESS OF PAINTING AND SCULPTURE IN GREECE AND ROME.
(For the Mirror.)
A cursory glance at the principal occasion of the amazing success obtained by the Greeks and Romans, in painting and sculpture, during the early ages, may perhaps prove interesting to the lovers of the arts in this country.
The elevation to which the arts in Greece arrived was owing to the concurrence of various circumstances. The imitative arts, we are told, in that classic country formed a part of the administration, and were inseparably connected with the heathen worship. The temples were magnificently erected, and adorned with numerous statues of pagan deities, before which, in reverential awe, the people prostrated themselves. Every man of any substance had an idol in his own habitation, executed by a reputed sculptor. In all public situations the patriotic actions of certain citizens were represented, that beholders might be induced to emulate their virtues. On contemplating these masterpieces of art, which were so truly exquisite that the very coldest spectator was unable to resist their almost magical influence, the vicious were reclaimed, and the ignorant stood abashed. Indeed, it has often been asserted, that the statues by Phidias and Praxiteles were so inimitably executed, that the people of Paros adored them as living gods. Those artists who performed such extraordinary wonders as these were held in an esteemed light, of which we cannot form the least idea. We are certain they were paid most enormous prices for their productions, and consequently could afford to adorn them with every beauty of art, and to bestow more time on them than can ever be expected from any modern artist.
As soon as the arts had arrived at their highest pitch of excellency in Greece, the country was laid waste by the invading power of the Romans. All the Greek cities which contained the greatest treasures were demolished, and all the pictures[5] and statues fell into the hands of the victorious general, who had them carefully preserved and conveyed from the land where they had been adored. Of the estimation in which these great works were held by the Romans, we may form some idea by the general assuring a soldier, to whose charge he gave a statue by Praxiteles, that if he broke it, he should get another as well made in its place. War is a very destructive enemy to painting and sculpture; the intestine quarrels which ensued after the Romans had conquered the country, rendered the exercise of the art impracticable.
The arts were neglected in Rome until the introduction of the popish religion. At that eventful era, statues and pictures were eagerly sought for; the admirable Grecian works were appropriated to purposes quite contrary to their pagan origin, for in many cases heathen deities were converted into apostles. The labours of Phidias, Myron, Praxiteles, Lysippus, and Scopas,[6] were highly valued by the Romans, who became the correct imitators, and in time the rivals, of those celebrated sculptors.
G.W.N.